{"id":488,"date":"2024-09-16T14:26:04","date_gmt":"2024-09-16T12:26:04","guid":{"rendered":"https:\/\/bcdss-recette.mazedia.fr\/in-verschwiegenheit-genaeht-die-kunst-des-widerstands\/"},"modified":"2025-06-27T15:05:36","modified_gmt":"2025-06-27T13:05:36","slug":"in-verschwiegenheit-genaeht-die-kunst-des-widerstands","status":"publish","type":"post","link":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/in-verschwiegenheit-genaeht-die-kunst-des-widerstands\/","title":{"rendered":"Stitched in Silence: The Art of Resistance"},"content":{"rendered":"\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<h4 class=\"wp-block-heading\">Cheryl McIntosh, Pia Wiegmink &amp; Beatrix Hoffmann-Ihde<br>BCDSS Independent Collaborator (Artist), BCDSS Cluster Professor &amp; BCDSS Exhibition Curator&nbsp;<\/h4>\n<\/div><\/div>\n\n\n\n<p><strong>Pia <\/strong><strong>Wiegmin<\/strong><strong>k<\/strong><strong> and Beatrix Hoffmann-Ihde <\/strong><strong>talk<\/strong><strong>to<\/strong><strong> Cheryl <\/strong><strong>McIntosh<\/strong><strong>about<\/strong><strong> her <\/strong><strong>art<\/strong><strong>work<\/strong><strong>. Cheryl <\/strong><strong>McIntosh<\/strong><strong>is<\/strong><strong> an <\/strong><strong>artist<\/strong><strong> with Jamaican roots and has lived in Bonn for many years. With her art works made of <\/strong><strong>fabric<\/strong><strong> and mixed media, she deals with the history and the long-term consequences of the enslavement of people from Africa and their deportation, which continue to the present day. With her work<\/strong><strong>,<\/strong><strong> she wants to draw attention to this history and initiate a healing process.<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"576\" style=\"aspect-ratio: 1024 \/ 576;\" width=\"1024\" controls src=\"http:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_video_No1-The-Artist_1.mp4\"><\/video><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>The Enslaved Boy in Modern Osnaburg<\/strong><\/h3>\n\n\n\n<p>Osnaburg or Osnaburgh&nbsp;\u2013 a garment for the enslaved \u2013 was originally produced in Osnabr\u00fcck, Germany. It was traditionally woven from flaxen in the 17th century. It was chosen as the clothing for enslaved peoples in the Americas and the Caribbean, due to its coarse and dense weave and its durability. A former enslaved person himself, Booker T. Washington (1856-1915) said that Osnaburg felt like a hundred pinpoints in contact with the flesh&#8217;&nbsp;(fig. 1).&nbsp; <\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"576\" style=\"aspect-ratio: 1024 \/ 576;\" width=\"1024\" controls src=\"http:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_video_No2-The-Enslaved-Boy-20240905_1.mp4\"><\/video><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"976\" data-id=\"1862\" src=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1a__BFC_2256_a.jpeg\" alt=\"\" class=\"wp-image-1862\" srcset=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1a__BFC_2256_a.jpeg 1024w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1a__BFC_2256_a-300x286.jpeg 300w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1a__BFC_2256_a-768x732.jpeg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"928\" data-id=\"1864\" src=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1b.jpeg\" alt=\"\" class=\"wp-image-1864\" srcset=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1b.jpeg 1024w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1b-300x272.jpeg 300w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_1b-768x696.jpeg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"has-small-font-size\">Fig. 1a + b: <em>\u201eThe Enslaved Boy\u201c,<\/em> Cheryl McIntosh, mixed&nbsp;media: fabric, iron nails and paper (2024), (photo: B. Frommann, 2024).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Madeleine<\/strong><\/h3>\n\n\n\n<p>The work <em>\u201cMadeleine\u201d <\/em>by Cheryl McIntosh refers to a painting by Marie Guillemine Benoist&nbsp;(1768-1826). After her return from the Caribbean Island of Guadeloupe, where Benoist had fled to her husband\u2019s family before the French Revolution, she showed the painting at the Paris Salon in 1800. The portrait of the formerly enslaved Madeleine, who gained freedom through the abolition of slavery and worked as a servant for Benoist\u2019s family-in-law, is considered the painter\u2019s most important work.<\/p>\n\n\n\n<p>The title of Benoist&#8217;s painting was originally <em>&#8220;Portrait <\/em><em>d&#8217;une <\/em><em>n\u00e9gresse<\/em><em>&#8220;<\/em> and in the years following its creation it was considered a symbol of female emancipation and the fight for human rights. However, from today\u2019s perspective, the traces of the colonial position of power from which Benoist created her work cannot be overlooked or ignored. Following on from this, Cheryl McIntosh, with her work of the same name and a new interpretation of the woman portrayed, seeks to heal the pain that is passed on from one generation to the next, whose ancestors were abducted into slavery. Precious fabrics emphasize Madeleine\u2019s dignity and cover her nudity, which in Benoist\u2019s painting still brings her into close connection with her biography as an enslaved woman (fig. 2).\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"720\" style=\"aspect-ratio: 1280 \/ 720;\" width=\"1280\" controls src=\"http:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/10\/McINTOSH_video_No3-Madeleine-20240827_1.mp4\"><\/video><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"862\" height=\"1024\" data-id=\"1866\" src=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_2.jpeg\" alt=\"\" class=\"wp-image-1866\" srcset=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_2.jpeg 862w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_2-253x300.jpeg 253w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_2-768x912.jpeg 768w\" sizes=\"auto, (max-width: 862px) 100vw, 862px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"has-small-font-size\">Fig. 2: <em>\u201eMadeleine\u201c<\/em>, Cheryl McIntosh, Textile Collage (2022), (photo: C. McIntosh, 2022).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>The Taming of the Negro, Part 2<\/strong><\/h3>\n\n\n\n<p>The artwork is inspired from <em>\u201c\u00c9tude <\/em><em>d&#8217;apr\u00e9s<\/em><em> le\u00a0<\/em><em>mod\u00e8le<\/em> <em>Joseph<\/em><em>\u201d<\/em><em>,<\/em> by Th\u00e9odore Chass\u00e9riau\u00a0(1819-1856). Joseph born into slavery in Saint Domingue, now Haiti 1793, arrived in France where he worked as an actor\/acrobat to play \u201cAfrican\u201d, and thereafter became a much sought-after renowned model in Paris appearing in several fine art paintings. The title refers to the use and role of religion in colonization and the enslavement of people. (Part 2, follows from an artwork entitled <em>\u201cThe Taming of the Negro\u201d,<\/em> where Jesus ist baptizing Joseph). The first sketch was done by artist Jean-Auguste-Dominique Ingres, 1836 entitled <em>\u201cSatan\u201d<\/em> for the exhibition <em>\u201eLe Seigneur <\/em><em>chassant<\/em><em> le <\/em><em>d\u00e9mon<\/em><em> du haut de la <\/em><em>montagne<\/em><em>&#8230;\u201c<\/em><\/p>\n\n\n\n<p>The artist, McIntosh, has presented Joseph as a named, free, celebrated, gifted black person being resurrected towards heaven with the roses symbolizing the beauty of the person (and the pain unseen thorns). His throwing of the roses alludes to freedom of references to satan and the demon, racial discrimination, pain, and suffering\u2026&nbsp;<\/p>\n\n\n\n<p>The lace fabric used to portray Joseph\u2019s body is a symbol of beauty, fragility, and value. The blue floral background reinforces the delicacy and beauty of the human person Joseph&nbsp;(fig. 3).&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"720\" style=\"aspect-ratio: 1280 \/ 720;\" width=\"1280\" controls src=\"http:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_video_No4-Joseph-20240827_1.mp4\"><\/video><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"818\" height=\"1024\" data-id=\"1868\" src=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_3__The_Taming_of_the_Negro_Part2_Mixed_Media_Collage_145x115cm_-sml-1.jpeg\" alt=\"\" class=\"wp-image-1868\" srcset=\"https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_3__The_Taming_of_the_Negro_Part2_Mixed_Media_Collage_145x115cm_-sml-1.jpeg 818w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_3__The_Taming_of_the_Negro_Part2_Mixed_Media_Collage_145x115cm_-sml-1-240x300.jpeg 240w, https:\/\/fabrics-of-dependency.uni-bonn.de\/wp-content\/uploads\/2024\/09\/McINTOSH_Fig_3__The_Taming_of_the_Negro_Part2_Mixed_Media_Collage_145x115cm_-sml-1-768x961.jpeg 768w\" sizes=\"auto, (max-width: 818px) 100vw, 818px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"has-small-font-size\">Fig. 3: <em>\u201eThe TamingoftheNegro, Part II\u201c,<\/em> Cheryl McIntosh, Textile Collage (2023), (photo: C. McIntosh).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Further Reading<\/strong><\/h2>\n\n\n\n<p>Debrey, C\u00e9cile et al. (ed.), 2019. Le mod\u00e8le noir: De G\u00e9ricault \u00e0 Matisse. Co\u00e9dition Flammarion. Mus\u00e9e D\u2019Orsay.<\/p>\n\n\n\n<p>McIntosh, Cheryl, 2024. Counter Thoughts. Counter Images. Eine Ausstellung des Projekts \u201eAktive Erinnerungskultur\u201c, Bundesstadt Bonn, Kulturamt. Bonn.<\/p>\n\n\n\n<p><a href=\"http:\/\/www.cheryl-mcintosh.de\">www.cheryl-mcintosh.de<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cheryl McIntosh, Pia Wiegmink &amp; Beatrix Hoffmann-IhdeBCDSS Independent Collaborator (Artist), BCDSS Cluster Professor &amp; BCDSS Exhibition Curator&nbsp; Pia Wiegmink and Beatrix Hoffmann-Ihde talkto Cheryl McIntoshabout her artwork. Cheryl McIntoshis an artist with Jamaican roots and has lived in Bonn for many years. With her art works made of fabric and mixed media, she deals with [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":422,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"themenfeld":[48,44,45],"class_list":["post-488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized-en","themenfeld-actors","themenfeld-resistance-resilience","themenfeld-spindle-loom-needle"],"_links":{"self":[{"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/posts\/488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/comments?post=488"}],"version-history":[{"count":8,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/posts\/488\/revisions"}],"predecessor-version":[{"id":2409,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/posts\/488\/revisions\/2409"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/media\/422"}],"wp:attachment":[{"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/media?parent=488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/categories?post=488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/tags?post=488"},{"taxonomy":"themenfeld","embeddable":true,"href":"https:\/\/fabrics-of-dependency.uni-bonn.de\/en\/wp-json\/wp\/v2\/themenfeld?post=488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}